series' "anchor", the original album version of "Dancing On My Own", and more broadly, its impact on other musical artists and the industry as a whole in the years that followed. In June 2018, Rolling Stone ranked that version of the song 19th on its list of 'The 100 Greatest Songs of the Century – So Far', in July 2018, NPR ranked it as the 49th greatest song by a female or nonbinary artist in the 21st century, in March 2020, after compiling over 35 global outlets' countdowns and 550 tracks, critics' algorithmic aggregator Acclaimed Music named it as the greatest song of the 2010s, and in October 2020, The Guardian Alexis Petridis called it "the greatest pop single of the past 20 years". The track was considered the greatest of the decade by Rolling Stone, NME, Stereogum, Slant, Consequence, AP, Insider, Esquire, iNews, Vanyaland and Audiofemme. Time, NPR listeners, Paste, Good Housekeeping, The Interns and The Wild Honey Pie ranked it second, Pitchfork third, Elle and Treble fourth and USA Today ninth. Gorilla vs. Bear ranked it 12th, Crack Magazine 13th, NBHAP 15th, Uproxx 18th and Harper's Bazaar 22nd. In September 2021, Rolling Stone, from a poll of more than 250 artists, musicians, producers, critics, journalists and industry figures, ranked the original album version of Robyn's "Dancing On My Own" at number 20, between Billie Holiday's "Strange Fruit" and John Lennon's "Imagine", on their reissued list of "The 500 Greatest Songs of All Time", the decade's highest entry on their list. Released at what Harper's Bazaar Natalie Maher deemed "the height of the pop renaissance" of the late 2000s/early 2010s, several columnists thought it took a decade for the song's influence to be appreciated critically due to the sharp contrast with its initial commercial reception, a result of several factors including its tone and theme. "Seamlessly ushering dance music to the forefront of the pop continuum by making a record and a single that was easily adaptable to radio play but didn't alienate its raw emotions, delivering a certain edge and undeniable melancholia", it arrived "just when brainless EDM started taking off in the US", and as Treble Jeff Terich observed, "the protagonist of every other pop hit from the early half of the decade [turned] a possible sexual encounter with a nightclub fling into the 'Most Important Moment on Earth,'" (and Robyn reminded us that "no, it doesn't